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Horror: Recently Added
1-10 of 45

To paraphrase Joyce Kilmer's famous poem, boys are made by fools like me, but only Dr. Wells can make a copy.

To paraphrase Joyce Kilmer's famous poem, boys are made by fools like me, but only Dr. Wells can make a copy. GODSEND, a science fiction horror movie with a single idea (cloning), is directed lamely by Nick Hamm, whose last film was the equally inept THE VERY THOUGHT OF YOU (internationally titled MARTHA, MEET FRANK, DANIEL AND LAURENCE). A by-...

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Review by: SteveRhodes

Added: 9 years ago

 

The film, scripted by Joel Soisson and directed by Patrick Lussier, features a group of B-list actors and B-list actor wannabes.

Even if WES CRAVEN PRESENTS DRACULA 2000 -- what a modest title -- features the undead, the movie itself is completely and utterly dead. Without a scintilla of new ideas, it rehashes the Dracula legend. You know the drill. The guy is a woman's man, who prowls at night and gets a major heartburn when silver stakes are thrust into his chest. His love ...

Read more

Review by: SteveRhodes

Added: 9 years ago

As you watch this snoozer of a horror picture, you'll be thinking he's coming for you too.

"He's coming for you. He's coming for you," proclaims little Joseph (Remy Sweeney), the designated innocent child in the EXORCIST: THE BEGINNING. As you watch this snoozer of a horror picture, you'll be thinking he's coming for you too. Your "he," however, won't be some devil figure but the sandman, since this exceedingly lame production has few ...

Read more

Review by: SteveRhodes

Added: 9 years ago

 

Geoffrey Rush shamelessly overacts with a vengeance in this chillingly awful movie, which leaves us with one nagging question. Can Oscars be recalled?

What do you do for a living? Whatever it is, assume for a moment that instead you're a talented carpenter, who takes pride in his work. People are always complimenting you for the houses you build, and you've even won some prestigious awards. One day, a wealthy man comes and offers you a handsome commission to construct a large mansion for him. ...

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Review by: SteveRhodes

Added: 9 years ago

FINAL DESTINATION 3, easily the best of the series and the only one I could at least marginally recommend, starts off very effectively.

FINAL DESTINATION 3, easily the best of the series and the only one I could at least marginally recommend, starts off very effectively. In a long sequence set during grad night at a garishly lit amusement park, the story's victims wander aimlessly, not realizing that the Grim Reaper has their names on his dance card. Well, all except one are ...

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Review by: SteveRhodes

Added: 9 years ago

 

Probably the best movie that the Halloween series has to offer aside from the classic original.

With HALLOWEEN, John Carpenter gave the titular holiday its most iconic motion picture and the horror genre one of its greatest achievements, seamlessly marrying Carpenter's own wonderfully effective musical score with a relatively simple stalk-and-slash narrative that followed in the footsteps of 1960's Alfred Hitchcock-directed PSYCHO and Bob ...

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Review by: TomElce

Added: 9 years ago

Most of the movie -- surprise -- consists of Jason slicing and dicing the crew as gorily as possible.

Go into James Isaac's JASON X with very low expectations, as I did, and you might just find that you end up like it. The technique didn't work for me, but it's always worth a try. JASON X, the tenth in the FRIDAY THE 13TH series, is set way off in the future -- 2455 to be precise. It is a time of peace and prosperity on earth with people spending...

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Review by: SteveRhodes

Added: 9 years ago

 

The HOUSE OF WAX is a by-the-numbers horror movie whose only cute idea.

The HOUSE OF WAX is a by-the-numbers horror movie whose only cute idea -- that living people are made into dead statues by using hot wax -- is lifted directly from the original Vincent Price film, upon which this version is loosely based. The acting is so generic and dead that they might as well have poured hot wax on all the characters in the first...

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Review by: SteveRhodes

Added: 9 years ago

A hell of a lot of fun to watch.

A remarkable teen horror movie, GINGER SNAPS is about twisted sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle). The girls have made a suicide pact, which they seem to have every intention of carrying out. They amuse themselves by taking grisly photographs of each other in suicide poses. Neither has had her first period. Instead of ...

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Review by: MiamiMovieCritic

Added: 9 years ago

 

DREAMCATCHER, based on a Stephen King novel and directed by Lawrence Kasdan (THE BIG CHILL).

DREAMCATCHER, based on a Stephen King novel and directed by Lawrence Kasdan (THE BIG CHILL), is about ten times scarier than its intriguing trailer might lead you to believe. A blend of ALIENS, OUTBREAK and DUNE, it is a thriller, a horror movie and a comedy that will have you jumping high and laughing loud. But its convoluted, complicated and ...

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Review by: SteveRhodes

Added: 9 years ago

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__domel__body => '&lt;p&gt;To paraphrase Joyce Kilmer's famous poem, boys are made by fools like me, but only Dr. Wells can make a copy. GODSEND, a science fiction horror movie with a single idea (cloning), is directed lamely by Nick Hamm, whose last film was the equally inept THE VERY THOUGHT OF YOU (internationally titled MARTHA, MEET FRANK, DANIEL AND LAURENCE).&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;A by-the-numbers thriller, GODSEND plays like a bad TV movie that somehow attracted a good cast. Robert De Niro phones in his performance as Dr. Richard Wells, a fertility expert with a secret, monster-sized clinic in the middle of nowhere. He mysteriously shows up at the funeral of eight-year-old Adam Duncan (Cameron Bright) and offers to cook up a duplicate Adam -- should have tried for Eve -- for Adam's distraught parents, Paul and Jessie Duncan (Greg Kinnear and Rebecca Romijn-Stamos).&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;From the very beginning, the plot is riddled with believability problems. After Paul is mugged by one of his ex-students -- who ends up giving him a pass after recognizing him -- and after he is offered a new teaching job in a safer town at exactly twice his current salary, Paul does what we all would do. He wants to turn it down because he is worried about &amp;quot;selling out.&amp;quot; Right. Dr. Wells obsessively clicks two big steel balls together in the palm of his hand, thereby driving the audience crazy. Hmm, where have we seen this behavior before? My favorite part of the stupid story is that Dr. Wells arranges for the Duncans to be given a lakefront, multimillion dollar mansion to live in with their dup. It is complete with a three-story, spiral staircase and a big basement, whose sole purposes are to serve up visual opportunities for the cinematographer.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie -- filled with all the horror movie clichйs of loud, unexpected noises and jump-cut dream sequences -- really doesn't get going until Adam grows up to be eight again. After that, let's just say that he sees dead people and has some bad nightmares that just might come true.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The story is so full of ridiculous moments that it's hard to hold down the laughter. A preposterous and obviously guessed &amp;quot;twist&amp;quot; in the third act was all it took to open the floodgates in our audience. Up until then there was persistent random snickering, but, after the big &amp;quot;surprise,&amp;quot; the guffaws start coming like a Biblical flood. If the movie were a parody, which it most certainly isn't, this could have been a good thing.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;&amp;quot;It this for real?&amp;quot; Jessie asks at one point. What she should have asked is, &amp;quot;Is this for laughs?&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;GODSEND runs 1:42. It is rated PG-13 for &amp;quot;violence including frightening images, a scene of sexuality and some thematic material&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => 'To paraphrase Joyce Kilmer's famous poem, boys are made by fools like me, but only Dr. Wells can make a copy. GODSEND, a science fiction horror movie with a single idea (cloning), is directed lamely by Nick Hamm, whose last film was the equally inept THE VERY THOUGHT OF YOU (internationally titled MARTHA, MEET FRANK, DANIEL AND LAURENCE). A by-...'
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__domel__body => '&lt;p&gt;Even if WES CRAVEN PRESENTS DRACULA 2000 -- what a modest title -- features the undead, the movie itself is completely and utterly dead. Without a scintilla of new ideas, it rehashes the Dracula legend. You know the drill. The guy is a woman's man, who prowls at night and gets a major heartburn when silver stakes are thrust into his chest. His love bites are quite messy, spurting blood everywhere. Once bitten, however, the victim joins his little club and goes off to put hickeys on other necks. About the only variation in DRACULA 2000 is that chopping off the head of a vampire is said to work just as well as the old stake-in-the-heart routine. Then again, maybe this has always been a lesser know rule of devamping.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The film, scripted by Joel Soisson and directed by Patrick Lussier, features a group of B-list actors and B-list actor wannabes. Only Christopher Plummer (THE SOUND OF MUSIC), who phones in his performance, gives the movie anything even approaching credibility.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Any movie pretentious enough to include the year of the millennium in its title should be smart enough to include a fair amount of self-deprecating humor, as did GODZILLA 2000. DRACULA 2000, however, with its buckets of fake blood, still takes itself completely seriously. Neither a comedy nor a horror picture, DRACULA 2000 plays more like a bad industrial video for vampire exterminators. It is certainly about as much fun as an instructional video, which is to say, no fun whatsoever.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;If there is anything worth laughing at in the story it is the stunning level of stupidity of the characters. If you came upon a locked tomb decorated by skulls, would you want to crack open the coffin inside to see what it contained? Solina (Jennifer Esposito) does. After all, she reasons, &amp;quot;If it's worth locking up, it's worth taking.&amp;quot; Here is something worth taking. Take my advice. Don't come anywhere near this comatose picture. But if you think that this genre is hopeless, rent a copy of Larry Fessenden's HABIT. Now, that is a fascinating vampire film with some real imagination.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;WES CRAVEN PRESENTS DRACULA 2000 runs a very long 2:07. It is rated R for violence/gore, language and some sexuality and would be acceptable for older teenagers.&lt;/p&gt;'
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short-body => 'Even if WES CRAVEN PRESENTS DRACULA 2000 -- what a modest title -- features the undead, the movie itself is completely and utterly dead. Without a scintilla of new ideas, it rehashes the Dracula legend. You know the drill. The guy is a woman's man, who prowls at night and gets a major heartburn when silver stakes are thrust into his chest. His love ...'
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__domel__body => '&lt;p&gt;&amp;quot;He's coming for you. He's coming for you,&amp;quot; proclaims little Joseph (Remy Sweeney), the designated innocent child in the EXORCIST: THE BEGINNING. As you watch this snoozer of a horror picture, you'll be thinking he's coming for you too. Your &amp;quot;he,&amp;quot; however, won't be some devil figure but the sandman, since this exceedingly lame production has few frights and not much story either.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This prequel to the already oversequeled EXORCIST was originally going to be helmed by John Frankenheimer, but he died during the preparatory work for the film. After his demise, Paul Schrader took over and completely filmed the movie, but in postproduction he was fired by the studio, reportedly for committing the crime of not making the movie horrific enough. After that, the studio hired Renny Harlin (CUTTHROAT ISLAND), an obvious choice if one wants some cheesy gore. Although I haven't seen the Schrader version, it would have to be more interesting than Harlin's DOA film. About the only thing even mildly noteworthy about it and the only possible part of it to give you any reason to try to stay awake is Vittorio Storaro's artistic cinematography, which keeps compelling you to watch a story with no interest other than its photographic panache.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Unlike THE EXORCIST, with its famous hey-mom-look-how-I-can-do-a-360-with-my-head scene, there is not a memorable moment in the EXORCIST: THE BEGINNING. A slumming Stellan Skarsgеrd, who plays the film's lead, will probably be pleased that this movie is so instantly forgettable.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;EXORCIST: THE BEGINNING runs a long 1:54. It is rated R for &amp;quot;strong violence and gore, disturbing images and rituals, and for language including some sexual dialogue&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => '"He's coming for you. He's coming for you," proclaims little Joseph (Remy Sweeney), the designated innocent child in the EXORCIST: THE BEGINNING. As you watch this snoozer of a horror picture, you'll be thinking he's coming for you too. Your "he," however, won't be some devil figure but the sandman, since this exceedingly lame production has few ...'
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__domel__body => '&lt;p&gt;What do you do for a living? Whatever it is, assume for a moment that instead you're a talented carpenter, who takes pride in his work. People are always complimenting you for the houses you build, and you've even won some prestigious awards.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;One day, a wealthy man comes and offers you a handsome commission to construct a large mansion for him. Everything sounds promising until he shows you the blueprints. He wants you to remake one of the ugliest houses in town. Moreover, he demands that you use substandard materials and not take the time to build it properly.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;So what do you do? Do you take the money, close your eyes and hold your nose? Or do you tell him that you have your reputation to uphold and refuse his lucrative job offer?&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;For Geoffrey Rush and his costars in HOUSE ON HAUNTED HILL (Taye Diggs, Ali Larter, Bridgette Wilson, Peter Gallagher and Chris Kattan), the money proved more valuable than a risk that they might insult their fans and damage their careers.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;William Malone's HOUSE ON HAUNTED HILL, wisely not screened in advance to critics, is a remake of William Castle's 1958 bad B-movie of the same name, which starred Vincent Price. (This new movie should not be confused with a terrible movie released earlier this year called THE HAUNTING. This one manages, amazingly, to be even worse.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The setup is that 5 guests must stay overnight in a haunted house. If they do, they'll earn one million dollars each, more if some of them die.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;So what new ideas does the remake have to improve upon the original? First, there's the money. It was only $10,000 back in the 50s. Second, there are lots of uses of the F-word to punch up the script. Finally, the characters employ crude sexual insults and humor to keep the audience awake. In order to create fright, the movie employs the canonical techniques of loud sounds (you're going to need ear plugs) and lots of blood.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Dick Beebe's script contains nothing but retreads. &amp;quot;Take my word for it, everything's fine,&amp;quot; Steven Price (Rush) says in limp reassurance in one scene. &amp;quot;Is this dump really haunted?&amp;quot; asks one of the movie's bimbos in another.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Geoffrey Rush shamelessly overacts with a vengeance in this chillingly awful movie, which leaves us with one nagging question. Can Oscars be recalled?&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;HOUSE ON HAUNTED HILL runs 1:36. It is rated R for violence, gore, language and nudity and would be fine for teenagers.&lt;/p&gt;'
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short-body => 'What do you do for a living? Whatever it is, assume for a moment that instead you're a talented carpenter, who takes pride in his work. People are always complimenting you for the houses you build, and you've even won some prestigious awards. One day, a wealthy man comes and offers you a handsome commission to construct a large mansion for him. ...'
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__domel__body => '&lt;p&gt;FINAL DESTINATION 3, easily the best of the series and the only one I could at least marginally recommend, starts off very effectively. In a long sequence set during grad night at a garishly lit amusement park, the story's victims wander aimlessly, not realizing that the Grim Reaper has their names on his dance card. Well, all except one are oblivious to the horrors that await them. Wendy Christensen (Mary Elizabeth Winstead), who is there with the yearbook's digital camera to record it all, senses that a large number of the students are about to perish on the roller coaster. Her vision comes too late, so that she is only able to save some of them. The sounds and lights of the big disaster are done quite dramatically and believably so that, even if you haven't been afraid of roller coasters before, you may think twice about ever riding one again after viewing FINAL DESTINATION 3.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This R-rated thriller has the teens dying gruesome deaths on the ride and later. Wendy and Kevin Fischer (Ryan Merriman), her girlfriend's boyfriend, are among the kids who survive the initial ordeal. In no time, Wendy is beginning to get premonitions of the subsequent demise of those who &amp;quot;cheated death&amp;quot; on the coaster.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Kevin, who apparently has not seen any of the FINAL DESTINATION films, discovers that this has all happened before on some airplane flight. Wendy realizes that the photos she took on grad night hold clues as to how those still among the living will meet their end. Kevin and Wendy come to believe that if they can prevent subsequent fatal accidents, which are always causing by elaborate and fascinating Rube Goldberg sequences of events, then the person they save will no longer be slated to die. The key to the puzzle is that the kids must die in the exact order that they would have had they stayed on the doomed roller coaster.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie does a good job of blending serious fright with funny situations. There are none better in this combination than the deaths that occur at the Phoenix Tanning salon. The school's resident bimbos, Ashley (Chelan Simmons) and Ashlynn (Crystal Lowe), strip down to bare boobs -- the film uses its rating well here -- in order to make their perfect golden tans even more richly golden. Suffice it to say that death by tanning is both humorous and horrible.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Only in a shameless 9-11 reference is the movie ever bad. But, it is never as good as the long opening, so, if you have only fifteen minutes to spend watching something, I can definitely recommend its beginning. The rest is fairly good too, at least relative to the rest of the teen terror genre.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FINAL DESTINATION 3 runs 1:32. It is rated R for &amp;quot;strong horror violence/gore, language and some nudity&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => 'FINAL DESTINATION 3, easily the best of the series and the only one I could at least marginally recommend, starts off very effectively. In a long sequence set during grad night at a garishly lit amusement park, the story's victims wander aimlessly, not realizing that the Grim Reaper has their names on his dance card. Well, all except one are ...'
teaser => 'FINAL DESTINATION 3, easily the best of the series and the only one I could at least marginally recommend, starts off very effectively.'
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__domel__body => '&lt;p&gt;With HALLOWEEN, John Carpenter gave the titular holiday its most iconic motion picture and the horror genre one of its greatest achievements, seamlessly marrying Carpenter's own wonderfully effective musical score with a relatively simple stalk-and-slash narrative that followed in the footsteps of 1960's Alfred Hitchcock-directed PSYCHO and Bob Clark's 1974 film BLACK CHRISTMAS, the latter largely considered to be the first slasher movie. Naturally for a movie so creative and yet so modest, Halloween inspired an infamous wave of similarly-toned horror movies that nonetheless paled in comparison to what Carpenter was able to cook up at frequent points during his independently-produced film. Films like FRIDAY THE 13TH, MY BLOODY VALENTINE and SILENT NIGHT, DEADLY NIGHT replaced the subtlety that made Carpenter's film so approachable on an artistic level, further cheapening the concept by glamorizing their grim kill sequences and dispensing of the character development that furthermore made HALLOWEEN such a masterpiece.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Of course, with audiences eating up any slasher film produced during the decade, a sequel followed -- two, in fact. Carpenter wasn't totally approving but HALLOWEEN II, returning Jamie Lee Curtis to the role that made her recognizable, was given the go-ahead and made a decent go of following up its predecessor while not dropping to the low-rent levels of the derivative, formulaic films that HALLOWEEN had also inspired. Like HALLOWEEN, it encouraged viewers to care about the protagonists, much unlike the misogynistic rip-offs of the era, and was all the better for it, compensating for some of its inherent nihilism by having something approaching a beating heart. It was a much lesser, more gore-heavy follow-up, but an alright, watchable one nonetheless.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;After that, the novel concept that Carpenter had to turn the series into an annual exercise in horror diversity backfired, Halloween III's ditching of the Michael Myers story as its central focus -- and, indeed, reducing the original to fiction in its own world -- backfired badly, the non-sequel detached from the initial twosome belly-flopping and being roundly dismissed. For a return to the series, only one thing would do: Michael Myers. As a beleaguering number of FRIDAY THE 13TH and NIGHTMARE ON ELM STREET films were carted out by their studios, the Halloween series lay dormant until 1988, when Moustapha Akkad produced Dwight H. Little's sequel -- HALLOWEEN 4: THE RETURN OF MICHAEL MYERS.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Though it marks the first major steps taken towards turning Halloween into a FRIDAY THE 13TH-style franchise -- albeit one destined to have a more respectable lineage -- Little's film succeeds where most of the sequels have failed. Retaining and touching up the original score that Carpenter concocted for the '78 film while upping the ante with regards to the deaths of the characters Michael Myers (now played by George P. Wilbur) readily dispatches, HALLOWEEN 4 manages to retain some of the original's suspense even while it betrays the elegant simplicity that made the first movie such a diamond in the rough of a subgenre it birthed. This third go-round for Myers is louder and less artistically crafted, but it’s also quite effective, evoking the foreboding look and feel of its titular holiday while offering up a protagonist, and supporting characters, worth giving a damn about. Unlike its lesser brethren during the 1980s, HALLOWEEN 4 isn't completely hollowed out, is possessive of an atmospheric punch, and boasts an ending which puts all that preceded it into a different context and is, yes, great.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Beginning with the notion that the fiery explosion at the end of HALLOWEEN II took neither the life of Myers or his former psychiatrist Samuel Loomis (Donald Pleasence), HALLOWEEN 4 picks up almost ten years following the events of the first two movies. Myers remains in comatose incarceration while the superficially impaired Loomis contemplates retirement. Foolishly, slasher aficionados would say, the powers-that-be decide that Myers must be transferred from the sanitarium in which he exists to Smith's Grove, necessitating an ambulance drive between the places, on the night before Halloween no less. It's not exactly an ingenious setup when one looks at it that way, but considering the way Little has the film shot, you could argue HALLOWEEN 4 is a masterpiece of bookends. Great in a way only matched (and indeed surpassed) by the film's climax, this opening sequence is wonderfully atmospheric and excellently crafted. The shot of the ambulance departing into the ongoing rainstorm as a doctor looks on with equal relief and dread plastered across his face is a sight to behold.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Naturally, all does not go as planned and Michael revives to the misfortune of the paramedics transferring him. Still, one of them did live long enough for Michael to learn of the existence of his niece, now living with a foster family back in Michael's hometown of Haddonfield, Illinois. With Dr. Loomis alerted to the possibility that the mass killer might be on the loose again (he flatly denies suggestions Myers is mangled in the river somewhere), a chase of sorts ensues involving something of a Western-lite standoff in a gas station/diner. Loomis confronts Myers, who looms with bandages wrapped around his entire face covering his supposedly horrific burns, and points a gun at him. We see Loomis shoot, but the next shot confirms Myers dodged and made off. The iconic key strokes kick in and Loomis rushes out fast enough to narrowly avoid death and see Myers drive away towards Haddonfield, another fiery explosion harkening back to Loomis' and Myers' last face-off with each other in HALLOWEEN II.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;These impressive sequences behind us, attention shifts to Michael's only surviving relative, nine-year-old Jamie Lloyd (Danielle Harris), a young girl still broken up over the death of mother Laurie in a car accident and unsure of her place within her current foster family dynamic. Painfully aware of her family history -- she is, after all, reminded of it by schoolyard bullies -- Jamie isn't exactly ready for her uncle's incoming appearance. He's plagued her nightmares for weeks on end, it seems, a somewhat contrived encounter between the two in the Halloween costume section of a store building further upon her dread. On top of everything, Jamie's riddled with guilt over her indirect responsibility (in her eyes, anyway) for the breaking up of stepsister Rachel's (Ellie Cornell) planned date with boyfriend Brady (Sasha Jenson), necessitated by Rachel having to babysit -- and take out trick or treating -- Jamie while her parents go out. Feeling like a burden, the last thing Jamie needs is a knife-toting murderer to show up on the scene with eyes firmly set on her.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Probably the best movie that the Halloween series has to offer aside from the classic original, HALLOWEEN 4 exhibits a greater gift for suspense than HALLOWEEN II, and additional gifts for character and story development over any of its subsequent installments (the only possible rival being Rob Zombie's underrated 2007 reboot). Aside from the looming presence of a masked serial killer, the characters at the forefront of Little's film find themselves grappling with real-life issues (familial dysfunction, immense grief and farcical love affairs) that threaten to remain unresolved by the point Michael comes back into proceedings and dispatches another unfortunate soul. In lieu of doling out the cookie-cutter characterizations that define the protags of the lesser FRIDAY THE 13TH movies, director Little and screenwriter Alan B. McElroy have crafted a slasher experience of a little more depth. Don't mistake HALLOWEEN 4 for something profound -- it isn't, to be blunt -- but appreciate how it asks more from the viewer than to lay our sympathy on the ruthless serial killer subject like so many of its brethren. Rather than turning a masked psychopath into something of an anti-hero, Little and McElroy have Mikey existent, quite rightly, as the villain of the piece, several times having Myers off threadbare characters but mostly convincing us to long for the protags' survival.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Between the fascinating opening and ingenious ending that he brings to the table, Dwight H. Little mounts scenes of frequently conflicting effectiveness that nonetheless manage to form a likable, spookily effective whole. The arguable standout of the middle section, wherein Dr. Loomis has arrived in Haddonfield and attracted (through suggestions bordering on raves and rants) the attention and assistance of current town sheriff Ben Meeker (Beau Starr), places between multiple Myers figures. Initially chilling to Loomis and Meeker, the set-piece unravels as only it can, but is temporarily effective in spite of being a little instance of farce. As the story winds down and Jamie and co are forced to increasingly desperate measures to avoid Myers' blade, Little builds tension and visceral excitement from the scenarios he creates. A perilous scene tracing the path from a house roof to the lawn below leads to a wonderfully photographed run into the misty Halloween night for Jamie, and onwards to further examples of suspenseful titillation at a school house and moving truck, respectively. Continuity errors abound, but there's enough filmmaking prowess here to significantly make up for the script's leaps in logic.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In her first major role, Danielle Harris is a revelation as Jamie Lloyd, wonderfully holding her own amongst the older members of the cast and, indeed, turning in one of the great acting performances of the Halloween series. That might seem no small feat, but once you consider she's up there with the likes of Jamie Lee Curtis and Donald Pleasence in their portrayals of the franchise's other two notable protagonists, her success is put into context. On his part, Pleasence shows up here and delivers a characteristically competent performance, even if the screenplay somewhat reduces him to a psychiatrist himself slowly being driven mad by the actions of his definitive patient. Loomis here is a far cry from the more considerate and regretful version of HALLOWEEN, but Pleasence still makes the part work. Otherwise notable is Ellie Cornell, sympathetic and assured as Jamie's stepsister Rachel.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Which brings us to the ending of HALLOWEEN 4. Spiritually revisiting the opening sequence of HALLOWEEN -- in which a young Michael performed his first murder -- without feeling any less inspired, the climactic set-piece forces Dr. Loomis to look square into the eyes of the same evil existent under a different guise -- but familiar costume. A blood-soaked figure stands at the top of the stairs kitted out in a clown costume looking immaculately sinister while a dumbstruck Loomis, perhaps now totally broken by the film's series of events, raises a gun, his screams in unison with the familiar music playing over the soundtrack. It's the most masterful moment of the film -- and also easily one of the franchise's greatest moments -- and ranks comfortably with anything seen in Carpenter's original Halloween, to boot. These are lofty claims, no doubt, but this ending, twisting all that has come before it into something entirely more tragic and grim, works so well that it makes the film something more than a technically proficient trek through the same old territory. It is, of course, cheapened by the cowardly sequel, a film -- HALLOWEEN 5: THE (groan) REVENGE OF MICHAEL MYERS -- that, terrified of any new ideas of its own, reverts to the same old formula and is all the worse for it, not even coming up with any credible conclusion of its own.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;'
alias => 'halloween_4_the_return_of_michael_myers'
dt-publish => '9 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 709
cover => 'cover.jpg'
title => 'Halloween 4: The Return of Michael Myers'
rating => 80
reviewer =>
__attr__id => 1341
avatar => 'TomElce_1265322658.png'
login => 'TomElce'
review-count => 27
user-dir => 'user_files/'
short-body => 'With HALLOWEEN, John Carpenter gave the titular holiday its most iconic motion picture and the horror genre one of its greatest achievements, seamlessly marrying Carpenter's own wonderfully effective musical score with a relatively simple stalk-and-slash narrative that followed in the footsteps of 1960's Alfred Hitchcock-directed PSYCHO and Bob ...'
teaser => 'Probably the best movie that the Halloween series has to offer aside from the classic original.'
title => 'Halloween 4: The Return of Michael Myers'
type-id => 7
6 =>
__attr__id => 859
__domel__body => '&lt;p&gt;Go into James Isaac's JASON X with very low expectations, as I did, and you might just find that you end up like it. The technique didn't work for me, but it's always worth a try.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;JASON X, the tenth in the FRIDAY THE 13TH series, is set way off in the future -- 2455 to be precise. It is a time of peace and prosperity on earth with people spending all their waking hours engaged in artistic and humanistic pursuits. Kidding, of course. Screenwriters' visions of the future usually vary only in the degree of the destruction that humans have inflicted on the planet and each other. This time Earth is so uninhabitable that the action is set on a spaceship.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In what could be titled JASON GOES SCI-FI, the movie tells yet another tale about Jason Voorhees (Kane Hodder), who, after having been frozen back at the turn of the millennium, is being defrosted.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The college age scientists on board the ship are all horny hunks or brainless brunettes, except for one token blonde bimbo. The best and funniest character is a female android named Kay-Em 14 (Lisa Ryder), who is a cross between Sigourney Weaver and an inflatable sex toy. Her best scene comes when her master tries to help her be just like a real woman. The only problem is that her nipples keep falling off. He assures her that he loves her just the way she is.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Most of the movie -- surprise -- consists of Jason slicing and dicing the crew as gorily as possible. The crew, given their level of stupidity, probably deserves their fate. When it's clear that their bullets won't kill Jason, their solution is just to fire more. (Why do science fiction movies figure that guns in the future will be almost exactly like today's machine guns, only bigger? Don't they think weapons will advance in four centuries?) And when the crew goes after an unstoppable killer like Jason, why do they split up so that he can more easily kill them off one or two at a time?&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;With its kind of enjoyable, high volume techno-organ funeral music and its little bits of humor, I've got to admit it. It could have been worse.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;JASON X runs 1:33. It is rated R for &amp;quot;strong horror violence, language and some sexuality&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
alias => 'jason_x'
dt-publish => '9 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 668
cover => 'cover.jpg'
title => 'Jason X'
rating => 60
reviewer =>
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avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
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short-body => 'Go into James Isaac's JASON X with very low expectations, as I did, and you might just find that you end up like it. The technique didn't work for me, but it's always worth a try. JASON X, the tenth in the FRIDAY THE 13TH series, is set way off in the future -- 2455 to be precise. It is a time of peace and prosperity on earth with people spending...'
teaser => 'Most of the movie -- surprise -- consists of Jason slicing and dicing the crew as gorily as possible.'
title => 'Jason X'
type-id => 7
7 =>
__attr__id => 833
__domel__body => '&lt;p&gt;The HOUSE OF WAX is a by-the-numbers horror movie whose only cute idea -- that living people are made into dead statues by using hot wax -- is lifted directly from the original Vincent Price film, upon which this version is loosely based. The acting is so generic and dead that they might as well have poured hot wax on all the characters in the first scene. Of course, if you go into it ready to scream, as our audience did, you might like the ersatz frights it provides. The film is filled with the standard, &amp;quot;don't go there&amp;quot; moments and generally stupid behavior by a bunch of young adults who have clearly never watched a horror movie themselves and thereby learned what actions to avoid. The camera telegraphs every &amp;quot;scary&amp;quot; moment with such clumsy obviousness that they might as well have honked a horn every time something bad is about to happen. This film doesn't deserve more than one paragraph review, given its lack of creative energy. The actors, including Chad Michael Murray, Brian Van Holt and Paris Hilton, just phone in their parts. Only Elisha Cuthbert (&amp;quot;24&amp;quot;) sporadically attempts to display some genuine fright. She is also the only actor whose talents are above this piece of schlock.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;HOUSE OF WAX runs way too long at 1:56. It is rated R for &amp;quot;horror violence, some sexual content and language&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
alias => 'house_of_wax'
dt-publish => '9 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 643
cover => 'cover.jpg'
title => 'House of Wax'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'The HOUSE OF WAX is a by-the-numbers horror movie whose only cute idea -- that living people are made into dead statues by using hot wax -- is lifted directly from the original Vincent Price film, upon which this version is loosely based. The acting is so generic and dead that they might as well have poured hot wax on all the characters in the first...'
teaser => 'The HOUSE OF WAX is a by-the-numbers horror movie whose only cute idea.'
title => 'House of Wax'
type-id => 7
8 =>
__attr__id => 714
__domel__body => '&lt;p&gt;A remarkable teen horror movie, GINGER SNAPS is about twisted sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle). The girls have made a suicide pact, which they seem to have every intention of carrying out. They amuse themselves by taking grisly photographs of each other in suicide poses. Neither has had her first period. Instead of boys or pop stars, they worship death.&lt;/p&gt;<br /> &lt;p&gt;The brilliance of GINGER SNAPS lies in its depiction of the onset of adolescence – which, in the case of Ginger, turns out to be a far more violent experience than two death-obsessed teenagers could ever dream of. While investigating a series of attacks on local dogs, the girls come across a werewolf that all but rips Ginger to shreds. Her wounds mysteriously heal, she gets her period, and she develops an appetite for boys – sexual and otherwise. Oh, and a tail starts growing out of her butt.&lt;/p&gt;<br /> &lt;p&gt;The movie has buckets and buckets of blood; at one point, Brigitte consumes mouthfuls of the stuff. This scene – and the film as a whole – puts a bizarre spin on the blood ritual that marks the first stage of adolescence for girls. “I get this ache,” Ginger confides in her sister, “and I, I thought it was for sex, but it's to tear everything to fucking pieces.” She’s lost control, just like any girl who’s lost control of her body.&lt;/p&gt;<br /> &lt;p&gt;Surprisingly, GINGER SNAPS is a hell of a lot of fun to watch. As Ginger goes through a rapid succession of “changes”, she develops a wicked sense of humor. Isabelle makes the most of her character’s sharp-tongued wit. (One of my favorite exchanges: “Ginger, a word?” “Is it ‘sorry’?”) She’s equally matched by Perkins, who as a tween was in the TV miniseries adaptation of Stephen King’s “It”. She also stars in the two GINGER SNAPS sequels, and her presence alone makes them worth a look. The original belongs to an exclusive club of horror films – including CHERRY FALLS and TEETH – that capture the teenage experience with bloody authenticity.&lt;/p&gt;'
alias => 'ginger_snaps'
dt-publish => '9 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 532
cover => 'cover.jpg'
title => 'Ginger Snaps'
rating => 100
reviewer =>
__attr__id => 84
avatar => 'MiamiMovieCritic.jpg'
login => 'MiamiMovieCritic'
review-count => 210
user-dir => 'user_files/'
short-body => 'A remarkable teen horror movie, GINGER SNAPS is about twisted sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle). The girls have made a suicide pact, which they seem to have every intention of carrying out. They amuse themselves by taking grisly photographs of each other in suicide poses. Neither has had her first period. Instead of ...'
teaser => 'A hell of a lot of fun to watch.'
title => 'Ginger Snaps'
type-id => 7
9 =>
__attr__id => 707
__domel__body => '&lt;p&gt;DREAMCATCHER, based on a Stephen King novel and directed by Lawrence Kasdan (THE BIG CHILL), is about ten times scarier than its intriguing trailer might lead you to believe. A blend of ALIENS, OUTBREAK and DUNE, it is a thriller, a horror movie and a comedy that will have you jumping high and laughing loud. But its convoluted, complicated and confusing story would be infinitely better with a full half hour and several characters chopped out of it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie opens with four troubled guys in their late twenties, Dr. Henry Devlin (Thomas Jane), Joe 'Beaver' Clarendon (Jason Lee), Gary 'Jonesy' Jones (Damian Lewis) and Pete Moore (Timothy Olyphant), dealing with their gift. These lifelong buddies were given the ability to read minds and more by a mentally challenged guy named Douglas 'Duddits' Cavell (Donnie Wahlberg) when they were young. Now they use their magic to do such mundane things as finding the lost car keys of a real estate agent that one of them wants to date. But their talents will soon be put to the test.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Meanwhile back in the snow-covered woods where the guys are going for their annual outing, trouble is brewing. The mad Colonel Abraham Kurtz (Morgan Freeman), ably assisted by his sane Captain Owen Underhill (Tom Sizemore), is dealing with a disaster that will soon run smack into our brain-reading boys, and the results won't be pretty. Expect to be grossed out, amused, scared, fascinated and, yes, sometimes bored. The movie's best moments are its most over the top. Beaver, for example, has a toothpick fetish that leads to a scene that will have you and the rest of the audience thinking or saying loudly, &amp;quot;Noooooooooo, don't do that!&amp;quot; You may never be able to look at a toothpick again without thinking of that scene.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;DREAMCATCHER runs way too long at 2:14. It is rated R for &amp;quot;violence, gore and language&amp;quot; and would be acceptable for teenagers with strong stomachs.&lt;/p&gt;'
alias => 'dreamcatcher'
dt-publish => '9 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 526
cover => 'cover.jpg'
title => 'Dreamcatcher'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'DREAMCATCHER, based on a Stephen King novel and directed by Lawrence Kasdan (THE BIG CHILL), is about ten times scarier than its intriguing trailer might lead you to believe. A blend of ALIENS, OUTBREAK and DUNE, it is a thriller, a horror movie and a comedy that will have you jumping high and laughing loud. But its convoluted, complicated and ...'
teaser => 'DREAMCATCHER, based on a Stephen King novel and directed by Lawrence Kasdan (THE BIG CHILL).'
title => 'Dreamcatcher'
type-id => 7
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  16. [43.47 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  17. [21.7 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  18. [1030.91 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  19. [69.32 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '764')
  20. [1.2 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  21. [0.37 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  22. [915.19 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  23. [1.54 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '757')
  24. [3.21 ms] SELECT `users`.* FROM `users` WHERE (user_id='1341')
  25. [9.85 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  26. [17.61 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 1341 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  27. [0.25 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '709')
  28. [0.86 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  29. [0.11 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  30. [1172.16 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  31. [0.33 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '668')
  32. [0.3 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  33. [0.22 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  34. [710.65 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  35. [0.34 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '643')
  36. [0.35 ms] SELECT `users`.* FROM `users` WHERE (user_id='84')
  37. [0.17 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  38. [340.11 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 84 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  39. [5.67 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '532')
  40. [0.79 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  41. [51 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  42. [905.3 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  43. [9.62 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '526')
  44. [477.08 ms] SELECT DISTINCT `rg`.* FROM `review_genres` AS `rg` LEFT JOIN `reviews` AS `r` ON rg.`genre_id` = r.`genre_id` WHERE (1 AND r.`review_type_id` = 7 AND r.`is_published_review` = 1 AND r.`is_deleted_review` = 0) ORDER BY `rg`.`genre_name` ASC

File Information

146 Files Included
Total Size: 1495.1K
Basepath: /mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/../../../

Application Files

/mnt/fs.9/disk1/local/www/filmnet/application/Bootstrap.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/channels/models/Channels.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Assistant.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Filters.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/controllers/ReviewsController.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Movies.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/ReviewGenres.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Reviews.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/users/models/Users.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/videos/models/Videos.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/config.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/acl.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/routes.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AjaxCheck.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AutoLogin.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/InmailMessageCount.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Paginator/Adapter/DbSelect.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Serializer.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Xslt.php
/mnt/fs.9/disk1/local/www/filmnet/www/index.php

Zend Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Assert/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/ExtendedInterface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Memcached.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Core.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Config.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/ViewRenderer.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker/PriorityStack.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Standard.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Front.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Broker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/ErrorHandler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Rewrite.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Module.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Regex.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Mysql.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler/Query.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Select.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Pdo.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Table/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Inflector.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/PregReplace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/StringToLower.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToDash.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/Separator/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/SeparatorToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/UnderscoreToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Form.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/Autoloader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale/Data/Translation.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Priority.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Simple.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Stream.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/Adapter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Jumping.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Namespace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/SaveHandler/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter/Gettext.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Uri.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Validate/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Version.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadMeta.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadTitle.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Standalone.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Interface.php

ZFDebug Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Database.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/File.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Html.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Memory.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Text.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Time.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Variables.php

Memory Usage

Controller: 10182.6K

Custom Timers

Controller: 10892.47 ms

Overall Timers

reviews
reviews
list
Avg: 11520.14 ms / 1 requests
Min: 11520.14 ms
Max: 11520.14 ms

Reset timers by sending ZFDEBUG_RESET as a GET/POST parameter

Registered Instances

Zend_View_Helper_Placeholder_Registry => Zend_View_Helper_Placeholder_Registry Object()
acl => Zend_Acl Object()
baseDir => 'http://www.filmnet.com/'
cache => Zend_Cache_Core Object()
config => Zend_Config Object()
db => Zend_Db_Adapter_Pdo_Mysql Object()
translator => Zend_Translate Object()
copyright 1.8.0/5.2.10-2ubuntu6variables Variableshtml HTMLdatabase 44 in 10169.4 msfile 146 Filesmemory 20177K of 1024Mtime 11520.14 msregistry Registry (7)«